Fact #1: Cyanide Pills are a brilliant live band. Anyone who has seen them at Rebellion Festival or on one of their jaunts around Europe will agree. Fact #2: They write great songs. Fact #3: "Big Mistake" is the first single taken from their just released album Sliced And Diced (DAMGOOD 475CD/LP, 2017). Fact #4: You will love it! Keeping the spirit of '78 alive, the band's mix of punk blasts and melodic power-pop has never sounded better, with razor-sharp twin guitars, a pounding rhythm section, and unmatched lyrical barbs.

RSD 2017 release. Butcher Boy's first set of recordings since 2011's Helping Hands (DAMGOOD 373CD). It's a three-part story told from three perspectives and was recorded in Glasgow with long-time collaborator Brian McNeill. The songs feature guest vocals from Anna Miles, Moog synthesizers, a choir, a string quartet, and a weather radio.

Another in a long line of punk single reissues from Damaged Goods, this time it's the 7" released on Toadstool Records by the band Slime. Slime was Slimy Toad from Johnny Moped's solo adventure into a recording studio during a bit of downtime in Johnny Moped's career in 1978. Long-lost punk classic reissued on limited edition color 7".

Keeping the spirit of '78 alive, Cyanide Pills' mix of punk blasts and melodic power-pop has never sounded better. With razor-sharp twin guitars, a pounding rhythm section and unmatched lyrical barbs, Sliced And Diced is one of the best albums you'll hear in 2017. Since their last LP, 2013's Still Bored (DAMGOOD 411LP), the band have gigged alongside some of the biggest names in punk including Buzzcocks, UK Subs, Johnny Moped, The Lurkers, and many more.

LP version. Pink vinyl; Edition of 700. Keeping the spirit of '78 alive, Cyanide Pills' mix of punk blasts and melodic power-pop has never sounded better. With razor-sharp twin guitars, a pounding rhythm section and unmatched lyrical barbs, Sliced And Diced is one of the best albums you'll hear in 2017. Since their last LP, 2013's Still Bored (DAMGOOD 411LP), the band have gigged alongside some of the biggest names in punk including Buzzcocks, UK Subs, Johnny Moped, The Lurkers, and many more.

Punk classic reissued on limited edition color 7". First ever reissue of Lockjaw's debut single, originally released in late 1977. Lockjaw began life in Crawley Sussex, first as The Guernsey Flowers and then as The Amazing Doctor Octopuss. This is the first of two singles they recorded for Cambridge-based Raw Records. Their continued claim to fame is that Simon Gallup was later in the band before going on to join The Cure, and it was his older brother Dave who wrote "Radio Call Sign". Bo Zo - vocals; Micky Morbid - guitar; Andy Septic - bass; Oddy Ordish - drums.

Punk classic reissued on limited edition colored 7". First ever reissue of The Unwanted's Secret Police single, originally released in 1977. Formed in March 1977 in London they played under their original name, SMAK, for the first two months, including the recording of Live At The Roxy, before settling on the name of The Unwanted. Consistent line-up changes resulted in a stop-start career. "Secret Police" was a loping sub-reggae single and most fans felt short changed after their original full on punk attack. Ollie Wisdom - vocals; Mark Curzon - guitar; Paul Gardner - bass; Danny Destroy - drums.

Damaged Goods present an LP reissue of the classic beat album by The Milkshakes, Talking 'Bout... Milkshakes!, originally released in 1981. The Milkshakes were mainly Mickey Hampshire (guitar/Vox), Billy Childish (guitar/Vox), Bruce Brand (drums) and Russ Wilkins (bass). When punk group The Pop Rivets broke up in 1980, Billy Childish joined forces with Mickey Hampshire, who was a Pop Rivets roadie. The two began writing songs together and the group released their first LP, Talking 'Bout... Milkshakes! in 1981. With Childish and Hampshire sharing guitar and vocal duties, Bruce Brand on drums, and Bertie on bass (later replaced by Russ Wilkins then John Agnew), the Milkshakes's sound was a primitive blend of British beat groups, like the early Kinks at their toughest, and hard-rocking American guitar instrumentalists, like Link Wray. This sound came to be known as the "Medway Sound" and the core members have been playing a variation on it throughout their whole careers.

Damaged Goods present an LP reissue of the classic beat album by The Milkshakes, After School Session, originally released in 1983. The Milkshakes were mainly Mickey Hampshire (guitar/Vox), Billy Childish (guitar/Vox), Bruce Brand (drums) and Russ Wilkins (bass). When punk group The Pop Rivets broke up in 1980, Billy Childish joined forces with Mickey Hampshire, who was a Pop Rivets roadie. The two began writing songs together and the group released their first LP, Talking 'Bout... Milkshakes! in 1981. With Childish and Hampshire sharing guitar and vocal duties, Bruce Brand on drums, and Bertie on bass (later replaced by Russ Wilkins then John Agnew), the Milkshakes's sound was a primitive blend of British beat groups, like the early Kinks at their toughest, and hard-rocking American guitar instrumentalists, like Link Wray. This sound came to be known as the "Medway Sound" and the core members have been playing a variation on it throughout their whole careers.

Damaged Goods present an LP reissue of the classic beat album by The Milkshakes, Thee Knights Of Trashe, originally released in 1984. The Milkshakes were mainly Mickey Hampshire (guitar/Vox), Billy Childish (guitar/Vox), Bruce Brand (drums) and Russ Wilkins (bass). When punk group The Pop Rivets broke up in 1980, Billy Childish joined forces with Mickey Hampshire, who was a Pop Rivets roadie. The two began writing songs together and the group released their first LP, Talking 'Bout... Milkshakes! in 1981. With Childish and Hampshire sharing guitar and vocal duties, Bruce Brand on drums, and Bertie on bass (later replaced by Russ Wilkins then John Agnew), the Milkshakes's sound was a primitive blend of British beat groups, like the early Kinks at their toughest, and hard-rocking American guitar instrumentalists, like Link Wray. This sound came to be known as the "Medway Sound" and the core members have been playing a variation on it throughout their whole careers.

Damaged Goods present an LP reissue of the classic beat album by The Milkshakes, The Milkshakes' Revenge! Trash From The Vaults, originally released in 1987. The Milkshakes were mainly Mickey Hampshire (guitar/Vox), Billy Childish (guitar/Vox), Bruce Brand (drums) and Russ Wilkins (bass). When punk group The Pop Rivets broke up in 1980, Billy Childish joined forces with Mickey Hampshire, who was a Pop Rivets roadie. The two began writing songs together and the group released their first LP, Talking 'Bout... Milkshakes! in 1981. With Childish and Hampshire sharing guitar and vocal duties, Bruce Brand on drums, and Bertie on bass (later replaced by Russ Wilkins then John Agnew), the Milkshakes's sound was a primitive blend of British beat groups, like the early Kinks at their toughest, and hard-rocking American guitar instrumentalists, like Link Wray. This sound came to be known as the "Medway Sound" and the core members have been playing a variation on it throughout their whole careers.

Damaged Goods present a CD reissue of two classic beat albums by The Milkshakes, Talking 'Bout... Milkshakes! (1981) and After School Session (1983). The Milkshakes were mainly Mickey Hampshire (guitar/Vox), Billy Childish (guitar/Vox), Bruce Brand (drums) and Russ Wilkins (bass). When punk group The Pop Rivets broke up in 1980, Billy Childish joined forces with Mickey Hampshire, who was a Pop Rivets roadie. The two began writing songs together and the group released their first LP, Talking 'Bout... Milkshakes! in 1981. With Childish and Hampshire sharing guitar and vocal duties, Bruce Brand on drums, and Bertie on bass (later replaced by Russ Wilkins then John Agnew), the Milkshakes's sound was a primitive blend of British beat groups, like the early Kinks at their toughest, and hard-rocking American guitar instrumentalists, like Link Wray. This sound came to be known as the "Medway Sound" and the core members have been playing a variation on it throughout their whole careers.

Damaged Goods present a CD reissue of two classic beat albums by The Milkshakes, Thee Knights Of Trashe (1984) and The Milkshakes' Revenge! Trash From The Vaults (1987). The Milkshakes were mainly Mickey Hampshire (guitar/Vox), Billy Childish (guitar/Vox), Bruce Brand (drums) and Russ Wilkins (bass). When punk group The Pop Rivets broke up in 1980, Billy Childish joined forces with Mickey Hampshire, who was a Pop Rivets roadie. The two began writing songs together and the group released their first LP, Talking 'Bout... Milkshakes! in 1981. With Childish and Hampshire sharing guitar and vocal duties, Bruce Brand on drums, and Bertie on bass (later replaced by Russ Wilkins then John Agnew), the Milkshakes's sound was a primitive blend of British beat groups, like the early Kinks at their toughest, and hard-rocking American guitar instrumentalists, like Link Wray. This sound came to be known as the "Medway Sound" and the core members have been playing a variation on it throughout their whole careers.

Damaged Goods present a reissue of Johnny Moped's Cycledelic, originally released in April of 1978. Described by Jon Savage in his book England's Dreaming (1991) as "certainly one of the more curious albums to emerge from the first wave of UK punk. Moped was a clumsy singer even by the standards of early British punk, given to moaning and gurgling when he couldn't think of something to say, and guitarist Slimy Toad had chops and wasn't afraid to show them, so some of the longer songs like 'Maniac' and '3D Time' veer off into what sounds like a thug's version of prog-rock. And even when the band did tear into something short, fast, and loud, they sounded like '60s pop gone mad on speed; Cycledelic may be one of the only albums from punk's first wave that displays almost no audible Ramones influence. But if the Mopeds were following a path all their own, they were clearly having a lot of fun doing it. Johnny Moped was a little too odd to serve as a true 'every kid', but the absurd brilliance of the best moments on Cycledelic are a shining example of the punk credo that anyone could do it -- and that sometimes amazing things could emerge from unexpected places."

The Girl In The Glass Case is the debut long player from The Senior Service. As with all great instrumental music, it weaves its web of magic through the light and shade created from the brush of keys, plucking of strings and beating of skins, with the occasional splash of color provided by brass, vibes and theremin. A collection of songs with an orchestral sensibility juxtaposed with an urgent garage rock crash bang wallop. The Girl In The Glass Case is completely unique and has a comforting familiarity that would takes the listener back to the greatest scenes from some of the Senior Service's favorite movies. The title of the album is inspired by an original Wolf Howard poem. From the first unexpected crash of "Snake Charmer", attacking you like the crack of a rattlesnake's tail, to the final hushed piano coda of "Bees", via the European flavored intrigue of "Into the Tunnel" and exhilarating Mexican romance of "Five Beans In The Wheel", the listener is completely immersed in the world of The Senior Service.

LP version. The Girl In The Glass Case is the debut long player from The Senior Service. As with all great instrumental music, it weaves its web of magic through the light and shade created from the brush of keys, plucking of strings and beating of skins, with the occasional splash of color provided by brass, vibes and theremin. A collection of songs with an orchestral sensibility juxtaposed with an urgent garage rock crash bang wallop. The Girl In The Glass Case is completely unique and has a comforting familiarity that would takes the listener back to the greatest scenes from some of the Senior Service's favorite movies. The title of the album is inspired by an original Wolf Howard poem. From the first unexpected crash of "Snake Charmer", attacking you like the crack of a rattlesnake's tail, to the final hushed piano coda of "Bees", via the European flavored intrigue of "Into the Tunnel" and exhilarating Mexican romance of "Five Beans In The Wheel", the listener is completely immersed in the world of The Senior Service.

Thee Headcoats' classic The Messerschmitt Pilot's Severed Hand, recorded in March 1997 and originally released in 1998. It features a re-recording of their classic single "We Hate the Fucking NME" as well as fan-favorites "Punk Rock Ist Nicht Tot" and "Organic Footprints." Billy Childish on The Messerschmitt Pilot's Severed Hand: "We recorded this LP live, off the cuff. Most of the song lyrics I sketched out the night before and then made up the tunes on the spot. We used 2 mic's -- one for bass and drums (set up between the two) and one for voice and guitar. (both through a Selmar 15 amp). We used the old Revox G-36 1/2 track machine that we inherited off of Tony Pink, local jazz player in 1977. I've always had soft spot for this LP as it embodies my first idea of what a punk rock group would be."

LP version. First vinyl reissue. Thee Headcoats' classic The Messerschmitt Pilot's Severed Hand, recorded in March 1997 and originally released in 1998. It features a re-recording of their classic single "We Hate the Fucking NME" as well as fan-favorites "Punk Rock Ist Nicht Tot" and "Organic Footprints." Billy Childish on The Messerschmitt Pilot's Severed Hand: "We recorded this LP live, off the cuff. Most of the song lyrics I sketched out the night before and then made up the tunes on the spot. We used 2 mic's -- one for bass and drums (set up between the two) and one for voice and guitar. (both through a Selmar 15 amp). We used the old Revox G-36 1/2 track machine that we inherited off of Tony Pink, local jazz player in 1977. I've always had soft spot for this LP as it embodies my first idea of what a punk rock group would be."

Painter/poet Billy Childish has released over 140 independent albums. SQ 1 is something like his 150th - no one knows for sure. As always great lines are delivered with deadpan humor: "The reason we didn't sound like the Smiths is because we wanted to sound like this" is Billy's reply to all the reviews of his band's work during the '80 and '90s - in the days when they stood all but alone as "the kings of garage rock" (New York Times). SQ 1 could be seen as a manifesto of punk rock defiance, a celebration of musical independence or simply a true document home-made rock and roll delivered as art, not commerce.

LP version. Colored vinyl. Painter/poet Billy Childish has released over 140 independent albums. SQ 1 is something like his 150th - no one knows for sure. As always great lines are delivered with deadpan humor: "The reason we didn't sound like the Smiths is because we wanted to sound like this" is Billy's reply to all the reviews of his band's work during the '80 and '90s - in the days when they stood all but alone as "the kings of garage rock" (New York Times). SQ 1 could be seen as a manifesto of punk rock defiance, a celebration of musical independence or simply a true document home-made rock and roll delivered as art, not commerce.

LP version. Gatefold sleeve. The three remaining original members of UK punk band Johnny Moped, who debuted in 1978 with their Cycledelic LP (BEAT 058LP), are back with It's A Real Cool Baby. Johnny Moped, Slimy Toad, and Dave Berk, together again for the first time since 1990's The Search For Xerxes, showcase some new songs and revisit a few live favorites that never got recorded back in their heyday, including "I Wanna Die" and "I Believed Her Lies." The original three Mopeds are joined by longtime live members Jacko Pistorious and Rock N Roll Robot (also known as Rob from legendary ska punk band Case). This album follows the 2015 release of the band's first 7" since 1978, Ain't No Rock 'N' Roll Rookie/Super Woofa, which hit the number-three position in the UK vinyl chart and was warmly received by Moped fans as "sounding just like a Johnny Moped single" -- no higher praise is possible.

The three remaining original members of UK punk band Johnny Moped, who debuted in 1978 with their Cycledelic LP (BEAT 058LP), are back with It's A Real Cool Baby. Johnny Moped, Slimy Toad, and Dave Berk, together again for the first time since 1990's The Search For Xerxes, showcase some new songs and revisit a few live favorites that never got recorded back in their heyday, including "I Wanna Die" and "I Believed Her Lies." The original three Mopeds are joined by longtime live members Jacko Pistorious and Rock N Roll Robot (also known as Rob from legendary ska punk band Case). This album follows the 2015 release of the band's first 7" since 1978, Ain't No Rock 'N' Roll Rookie/Super Woofa, which hit the number-three position in the UK vinyl chart and was warmly received by Moped fans as "sounding just like a Johnny Moped single" -- no higher praise is possible.

Miss Holly Golightly's wonderful debut album from 1995, at this point she was still a Headcoatee too. Originally a 10″ LP, now available as a 12″ LP & CD/Digi -- Holly Golightly's solo debut is quite a departure from her usual gig as a member of the garage-rocking, Billy Childish-sponsored group Thee Headcoatees. But for a couple of tracks, Golightly and Thee Headcoatees drummer Bruce Brand create a low-key and introspective musical mood. The overall sound is still raw and live, but the tempos and performances are relaxed. Golightly's voice is very intimate and conversational. She sounds especially good when she harmonizes with herself to create a girl group sound. The songs she wrote are filled with wit and verve and not a little anger. The title track is a classic 'you hurt me, you suck' type of song; in fact, most of the songs here are. It is a real broken-hearted breakup record. And Golightly has the good sense to cover a Wreckless Eric song, 'Comedy Time.' Good Things is a strong debut that definitely pointed the way to the good things that were to come from Holly Golightly.